Hyperboles in a fairy tale Wild landowner. Satirical techniques in fairy tales Saltykov-Shchedrin

03.03.2020

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] Centrally, early Gorky is proud and strong personality, embodying the idea of \u200b\u200bfreedom . Therefore, the sake of Danko sake of people is in one row with a drunkard and thief of the Chelkash, no feats for someone who does not commit. "The strength is virtue," said Nietzsche, and for Gorky, the beauty of a person is strength and a feat even aimless: A strong person has the right to be "on the other side of good and evil", be outside the ethical principles, like a Chelkash, and the feat, from this point of view, is resistance to the overall flow of life.
After a series of romantic works of the 90s, full rebellious ideas, Gorky creates a play, which became the most important link in the entire philosophical and artistic system of the writer - Drama "At the bottom" (1902). Let's see what heroes inhabit the "bottom" and how they live.

II. Conversation on the content of the play "On the bottom"
- How is the place of action in the play?
(The place of action is described in the author's remarks. In the first action it "The basement similar to the cave", "heavy, stone arches, wrapped, with a crumbling stucco". It is important that the writer makes instructions as the scene is illuminated: "From the viewer and top down" The light comes to the bedrooms from the basement window, as if looking for among basement inhabitants - people. Thin partitions are separated by the ashes room.
"Everywhere on the walls - Nara". In addition to Kwashny, Baron and Nastya, who live in the kitchen, there is no one from anyone. Everyone in front of a friend in appearance, a secluded place only on the stove and behind the sieve canopy separating from the other bed of the dying Anna (this is already as if separated from life). Dirt everywhere: "Dirty stente canopy", unpacked and dirty table, benches, stool, wasopted cards, pieces of oil, rags.
Third action It happens in early spring evening on the wasteland, "Torn to different trash and overgrown bungyan courts". Pay attention to the flavor of this place: the dark wall of the barn or stables "Gray, covered with plaster residues" The wall of the night, the red wall of the brick firewall, closing the sky, the reddish light of the setting sun, black bunches without kidneys.
In the fourth setting, significant changes occur: the partitions of the former side of the ashes are broken, the tick anvil disappeared. The action takes place at night, and the light from the outside world is no longer made to the basement - the scene is lit by the lamp, standing in the middle of the table. However, the last "act" of drama is committed still on the wasteland - an actor was gathered there.)

- What kind of people are inhabitants of the night?
(People who dropped to the bottom of life fall into the night. This is the last refinement for Bosia, Marginals, "former people." Here are all social strata of society: a broken nobleman Baron, a dealer of Kostylev, a policeman Medvedev, a locksmith tick, Cartubin Bubnov, Cartswear , Satin Shuler, a prostitute Nastya, the Spot ash. All equalizes the position of the societies of society. It lives very young (Supozhnik Aleshka 20 years old) and the unstable more people (the oldest, Bubnovaya, 45 years old). However, their life is almost over. Dying Anna seems We are old, and it turns out to be 30 years old.
Many at nights even have no names, there were some nicknames, expressively outlining their carriers. It is clear the appearance of quashen dumplings trading, the character of the tick, the gonor of Baron. The actor once wore the surname of crickets-zadunaysky, and now even remembers almost left - "I forgot everything.")

- What is the subject of the image in the play?
(The subject of the image in the drama "On the bottom" is the consciousness of people thrown as a result of deep social processes, on the "bottom" of life).

- What is the conflict of drama?
(Social conflict He has several levels in the play. Clearly marked social poles: on one - the Kostylev's main attendant and supporting his power Police Medvedev, on the other - essentially dysfunctional at night. Thus, obvious conflict between the authorities and deprived of the rights of people. This conflict is almost not evolving, because Kostylev and Medvedev are not so far from the inhabitants of the night.
Each of the bedrooms survived in the past his social conflict As a result of which it turned out to be in a humiliating position.)
Reference:
A sharp conflict situation playing in front of the audience is an essential draw of the drama as a kind of literature.

- What led to the dwelling of her inhabitants - Satina, Baron, Tick, Bubnova, actor, Nastya, ash? What is the prehistory of these characters?
(Satin I got "on the bottom" after he served in prison for the murder: "Killed the scoundrel in passing and irritation ... because of his native sister"; Baron broke; Mite Lost work: "I am a working person ... I have been working with small years." Bubnov left home from sin away so as not to kill his wife and her lover, although he himself admits that he "lazy" and also a winding drunk, "would" dug a workshop "; Actor Spretched, "I dug soul ... died"; fate Ash It was predetermined at his birth: "I - Suszoletry - a thief ... All, always told me: the thief of Vaska, the thieves of the son of Vaska!"
More details of others tells about the stages of their fall Baron (the fourth action): "It seems to me that I just changed my life ... And why? I do not understand! He studied - wore a uniform of the noble institute ... And what did he study? I do not remember ... I got married - dressed frak, then - a bathrobe ... And I took a bad wife and - why? I do not understand ... I lived everything that was, - I wore some gray jacket and red-haired pants ... And how was hesitated? I did not notice ... he served in the execution chamber ... Mundir, a cap with Cocardia ... she was crushed out of stateless money, "the Arrest bathrobe was put on me ... Then he dressed here ... And everything ... as in a dream. .. but? This is funny? Each stage of the life of the thirty-taught baron is as if marked with a specific costume. These dressing symbolize a gradual decline in social status, and there is nothing behind these "dressing", life has passed "as in a dream.")

- How is the social conflict interrelated with drama?
(Social conflict has been submitted for the scene, moved into the past, it does not become the basis of a dramatic conflict. We are only observing the result of extranectural conflicts.)

- What kind of conflicts, except social, stand out in the play?
(There is a play in the play traditional love conflict . It is determined by the relationship between Vaska Susili, Vasilisa, the owner of the owner of the night, Kostyleva and Natasha, Sisters Vasilisa.
Exposition of this conflict - The conversation of the nightnails, from which it is clear that Kostylev is looking for his wife to Vasilis, who changes him with Vasili ash.
Tie of this conflict - The appearance at night Natasha, for which the ashes leaves Vasilis.
In the course development of love conflict It becomes clear that relations with Natasha revive the ashes, he wants to leave her and start a new life.
Culmination of conflict It was summed up for the scene: at the end of the third action, we learn from the words of Kwashni that "boiling water the feet was welded" - Vasilisa overturned the samovar and scalded Natasha legs.
Murder of Kostyleva Vaska ashes turns out tragic junction of love conflict. Natasha stops believing ashes: "She is at the same time! Be you cursed! You both…")

- What is the originality of a love conflict?
(Love conflict becomes grand Social Conflict . He shows that anticheloval conditions are crippled man, and even love does not save a person, but leads to the tragedy: To death, injury, murder, Katorga. As a result, one Vasilisa reaches all of its goals: hesitates the former lover of ashes and his sister-rival Natasha, gets rid of the unloved and improving her husband and becomes a single hostess of the night. Vasilisa does not have anything human, and it shows the monstristence of social conditions who dispelled and the inhabitants of the night, and its owners. The nightnits are not directly involved in this conflict, they are only third-party spectators.)

III. Final word of the teacher
The conflict in which all the characters are involved - another kind. Gorky depicts the consciousness of people "bottom". The plot unfolds not so much in external action - in everyday life, as in the dialogues of heroes. Exactly talks of the nightnamons determine development of dramaturgical conflict . The action is translated into the extraction series. It is typical for the genre philosophical drama .
So, the genre of the play can be defined as a socio-philosophical drama .

Additional material for teacher
To record at the beginning of the lesson, you can offer the following dramatic Work Analysis Plan:
1. Time for creating and publishing the play.
2. Place occupied in the work of the playwright.
3. The theme of the play and the reflection of a certain life material in it.
4. Acting faces and their grouping.
5. Conflict of a dramatic work, its originality, the degree of novelty and acute, its deepening.
6. Development of dramatic action and its phase. Exposure, tie, peripetia, climax, junction.
7. Composition of the play. The role and value of each act.
8. Dramatic characters and their connection with action.
9. Speech characteristic of characters. Character connection and words.
10. The role of dialogues and monologues in the play. Word and action.
11. Detection of the author's position. The role of remarks in drama.
12. The genre and species peculiarity of the play. Compliance with the genre by author's preferences and preferences.
13. Comedy (if it is comedy).
14. Tragic flavor (in case of analyzing the tragedy).
15. Plays ratio with the aesthetic positions of the author and his views on the theater. Pieces' purpose for a specific scene.
16. Theatrical interpretation of the drama at the time of its creation and at the subsequent time. The best acting ensembles, outstanding directorial decisions, memorable incarnations of individual roles.
17. Piece and its dramaturgical traditions.

Homework
Remove the role of Luke in the play. To write down his statements about people, about life, about the truth, about faith.

Lesson 2. "What you believe - that's." The role of Luke in the drama "On the bottom"
The purpose of the lesson: Create a problem situation and encourage students to express their own point of view on Luke and his life position.
Methodical techniques: Discussion, analytical conversation.

During the classes
I. Analytical conversation
Let us turn to the contribution of the drama and see how the conflict develops here.

- How do the inhabitants of the surgery perceive their position before the appearance of Luke?
(IN exposition We see people, in essence, missed with their humiliating position. The nightnits are sluggish, they are familiar to, and the actor says Satina: "Once you will be completely killed ... to death ..." "And you are a Bolon," Satin snares. "Why?" - Actor is surprised. "Because it is impossible to kill twice."
These words satin show his attitude towards that existence that they all lead in the night. This is not life, they are all dead. It seems that everything is clear.
But the actor's response replica is interesting: "I do not understand ... Why can't?" Perhaps it is the actor who has been in a scene, who is deeper than others understand the horror of the situation. After all, it is he who will end the life of suicide at the end of the plays.)

- What is the point of use Past time In self-characteristic heroes?
(People feel like "Former":
"Satin. I was educated person"(The paradox is that the past time is impossible in this case).
"Bubnov. I'm hot was ».
Bubnov pronounces philosophical centance: "It turns out - outside how to paint yourself, all erased ... all erased, Yes!")

- Who of the characters opposes himself the rest?
(Only one Tick \u200b\u200bdid not accept more With his fate. He separates himself from the rest of the nights: "What are they people? Ravan, Golden Rota ... People! I am a worker ... I look at them ashamed ... I have been working with small years ... you think I will not take out from here? I will get out ... Sadness leather, and get out ... here, wait if my wife dies ... "
The dream of another life is connected with a tick with liberation that the death of his wife will bring him. He does not feel the monstristence of his statement. Yes, and the dream will be imaginary.)

- Which scene is a stronger conflict?
(The concerned conflict is the appearance of Luke. He immediately declares his views on life: "I - all the same! I and Zhulikov respect, in my opinion, not a single flea - not bad: everything is black, everyone is jumping ... so. " And yet: "old man - where is warm, there is a homeland ..."
Luke turns out in the center of the attention of guests: "What an entertaining old-handed old man has led, Natasha ..." - and all the development of the plot is concentrated on it.)

- How does the onion behave with each of the inhabitants of the night?
(Luke quickly finds an approach to the spent room: "I will see for you, brothers, - Your life - Oh! .."
He regrets Aleshka: "Oh, a guy, you confused ...".
He does not respond to rudeness, skillfully bypassing questions unpleasant for him, ready to fit the floor instead of the night.
Luka becomes necessary Anna, regrets her: "Is it possible to throw a person?"
Luka skillfully flattered Medvedev, calling him "Untera", and he immediately caught on this rod.)

- What do we know about Luke?
(About himself onions almost nothing reports, we will only learn: "Mills, therefore, and soft ...")

- How does Luca act on the nights?
(In each of the Outdoor Outdoor, the man sees a man, opens the bright parties, the essence of the personality and it produces coup in life Heroes.
It turns out that a prostitute Nastya dreams of beautiful and bright love;
A spoke actor gets hope for a cure from alcoholism - Luka tells him: "A person - everything can, if only she wanted ...";
The thief of Vaska ash thinks to go to Siberia and start there a new life with Natasha, become a strong owner.
Anne Luka gives consolation: "Nothing, honey! You - Nadya ... So, it means, you will die, and it will be calmly ... I will not have anything else, and you have to be afraid - there is nothing! Silence, calm - lying yourself! "
Luke opens good in every person and instills faith in the best.)

- Leated Luke at night?
(There may be different opinions on this.
Luke disinterestedly trying to help people, donate faith in them in themselves, awaken the best sides of nature.
He sincerely wishes good, shows real ways to achieve a new, better life . After all, caregivers really exist for alcoholics, really Siberia - the "golden side", and not just the place of references and cortics.
About the afterlife, which he manites Anna, the question is more difficult; This is a question of faith and religious beliefs.
What did he lie in? When Luke convinces Nastya that he believes in her feelings, in her love: "If you believe, you had real love ... So she was her! Was! " "He only helps her find strength for life for real, and not fictional love.)

- How do the inhabitants of the surge refer to Luke words?
(Own-harms at first are incredulously belong to the words of Luke: "Why are you doing everything? Luke does not deny this, he answers the question of the question:" And ... what do you really care about ... Think! She, truth, maybe , volat to you ... "
Even on the direct question about God Luke answers evasively: "If you believe - there; You do not believe - no ... What do you believe, then there is ... ")

- What groups can you split the heroes of the play?
(The heroes of the play can be divided into "Believers" and "unbelievers" .
Anna believes in God, Tatar - in Allah, Nastya - in the "fatal" love, Baron - in his past, possibly invented. The tick is no longer believed in anything, and Bubnov never believed and nothing.)

- What is the sacred meaning of the name "Luka"?
(At the name "Luka" Double meaning: This name reminds evangelist Luka.means "light coloured", and at the same time associated with the word "sly" (Eufemism Words "heck").)

- What is the author's position in relation to Luke?
(The author's position is expressed in the development of the plot.
After leaving Luke everything happens at all exactly how I convinced Luka and how the heroes were counted .
Vaska ash really gets into Siberia, but only on the cautious, for the murder of Kostyleva, and not as a free settler.
The actor who lost faith in herself, in his strength, exactly repeats the fate of the hero of the parable of Luke on righteous land. Luke, told the parable of a person who, who, having blown in the existence of the righteous land, was worn, believes that a person can not be deprived of dreams, hope, even imaginary. Gorky, showing the fate of the actor, assures the reader and the viewer in that it is false hope that can lead a person to suicide .)
Gorky himself wrote about his plan: " The main question I wanted to put, this is what is better, truth or compassion. What you need. Need to bring compassion before using a lie like a bow? This is not a subjective question, but a general philosophical. "

- Gorky opposes not the truth and lies, but the truth and compassion. How justified such opposition?
(Discussion.)

- What is the meaning of the influence of Luke at the bednings?
(All heroes come out on the fact that Luka instilled in them false hope . But they did not promise them to raise them from the bottom of life, he just showed their own opportunities, showed that there is a way out, and now it all depends on them themselves.)

- How strong is the faith in yourself, awakened by Luka?
(This faith in the minds of the nightnamons did not have time to consolidate, it turned out to be a fragile and unscanned, with the disappearance of Luke Nadezhda goes out)

- What is the reason for the rapid fading of faith?
(Maybe case in the weakness of the heroes themselves , in their inability and reluctance to make at least something for the implementation of new plans. Dissatisfaction with reality, sharply negative attitude towards it are combined with complete negotiation to do anything to change this reality in order to change this reality.)

- How does Luca explain the failures of the life of the nights?
(Luka explains failures of the life of the night trucks by external circumstances , it does not blame the heroes themselves in a failed life. Therefore, she rushed to him so much and so disappointed, having lost the external support with the leaving of Luke.)

II. Final word of the teacher
Gorky does not accept passive consciousness, the ideologist of which he considers Luka.
According to the writer, it it can only reconcile a person with the outside world, but will not make him change this world.
Although the bitter does not accept the position of Luke, this image seems to be out of the author's control.
According to the memories of I. M. Moskvina, in the statement of 1902, Luka appeared as a noble comforter, almost the Savior of many desperate inhabitants of the night. Some critics were seen in Luke "Danko, to whom only real features", "the expressant of the highest truth," found elements of the elements of Luke in the verses of Beranta, who shouted the actor:
Lord! If the holy truth is
The world does not know how to find the road -
Honor madman who will have
Humanity Sleep Golden!
K. S. Stanislavsky, one of the producers of the performance, outlined way "Reduction" Hero. "Luka is cunning", "slyly glanced", "smiling insidiously", "sorely, gently", "it can be seen that it is lying."
Luke - Live image precisely because he is controversial and ambiguous.

Homework
Find out how the question is solved about the truth in the play. Find statements of different heroes about the truth.

Lesson 3. The question of the truth in the Drama of Gorky "at the bottom"
The purpose of the lesson:to identify the position of the heroes of the play and the author's position towards the question of the truth.
Methodical techniques: Analytical conversation, discussion.

During the classes
I. Teacher's word
The philosophical question that put the bitter himself: what is better - truth or compassion? The question is, the truth is multifaceted. Each person understands the truth in his own way, having in mind some kind of final, the highest truth. Let's see how true and lies in the Drama "at the bottom".

II. Work with the dictionary
- What do they understand the "truth" heroes of the play?
(Discussion. This is the word multi-valued. We advise you to look into the explanatory dictionary and identify the meanings of the word "truth".

Teacher's comment:
You can highlight two levels of "truth".
One is " private truththat hero defends the hero assures everyone, and above all, in the existence of extraordinary, bright love. Baron - in the existence of his prosperous past. The tick is the truth calls its position, which turned out to be hopeless and after the death of his wife: "There is no work ... There is no strength! Here is true! Rinters ... Needs! I need to frown ... Here it is, the truth! " For Vasilisa "True", the fact that she "tired" by Vaska ashes, the fact that she mocks her sister: "I don't brag - I tell the truth." Such "private" is true at the fact of the fact: it was not.
Another level of "truth", "WORLD" - In the replica Luke. True, Luke and his "lies" are expressed by the formula: "What you believe - that is."

III. Conversation
- Is it necessary at all right?
(Discussion.)

- position of which character the position of Luke is opposed?
(Luke's position, compromise, consolation, confronts the position of Bubnov .
This is the most gloomy figure in the play. Bubnov enters the dispute implicitly as if talking with himself Supporting a multi-beam (polylog) of the play.
The first act, the scene in the bed of dying Anna:
Natasha (Pluster). You would, tea, now I have received a paradise with her .., because I'm not long ...
Mite. I know ...
Natasha. You know ... I know little, you understand. After all, dying is scary ...
Ash. And here I am not afraid ...
Natasha. How! .. courage ...
Bubnov (whistling). And the threads are rotten ...
This phrase is repeated over the play several times as if

In 1902, the Piez M. Gorky "at the bottom" was printed in Munich. This drama arose as a result of vital observations and philosophical search for the author.
The kossia shown in the play was a major social phenomenon of the nineteenth and early twentieth centuries. As Gorky himself pointed out, he watched the prototypes of heroes in Nizhny Novgorod. Almost every hero had his own prototype: Artist Kolosovsky-Sokolovsky served as a prototype of the actor; Bubnova Bitter wrote not only from his friend Bosyaka, but also from one intellectual, his teacher; The image of Nastya is largely borrowed from the story of Claudia Gross. In Nizhny Novgorod, and in other places, Gorky saw a lot of wanderers, so the writer has accumulated a huge material to create a Luke image. Satin was also written with a specific person.
The heroes of the play "On the bottom" turned out to be generalized, collective images, although they, no doubt, are typical, they are familiar and close bitter.
Yes, Gorky again writes about the "former people," but now he from Romance with an unconscious role of Bosiak turned into a philosopher, painfully looking for the meaning of existence. He collected together a lot of variekteric persons, uniting them as a desire for justice.
The play overwhelms the bright characters and images. What did the author wanted to say? What did he see heroes?
Gorky himself determined the main problem of play: "... what is better: truth or compassion? What you need? Need to bring compassion before using a lie like a bow? This question is not subjective, but the general philosophical. " Maxim Gorky admits that he failed to fully answer this question. Why? To do this, you need to consider two images: Luke and Satina. Satin definitely expresses the author's position. The hero is very far from the philosophy of Christian patience, for him there is one proudly sounding word - a man who pays for everything: for faith, for the disbelief, for love, for the mind - a man for everything pays himself, and therefore it is free. " In these words, we hear the voice of Gorky. And many, reading "on the bottom", threw a cozy life and went to revolutionary barricades.
However, criticism perceived the play otherwise. The main direction of the play was associated with Luki image. They wrote that Luka "aroused everything good to the light, which was rather dreamed by the darkest." The main motive was interpreted as reconciliation with life and a sense of pity for a person. Often, the social basis was ignored: there were attempts to reduce the conflict of plays to the psychological weakness of the heroes, to the internal contradictions of their characters.
Gorky protested against such a interpretation. He wrote that Luke does not believe in anything, but he's a pity suffering from people, so he tells them different comforting words.
Luka is a wandering preacher who all comforts, everyone promises to get rid of suffering, everyone says: "You hope!", "You believe!" Luka is an outstanding personality, he has great life experience and acute interest in people. All this person's philosophy is expressed inone of his saying: "What do you believe, then there is." He is sure that he never will ever cure any soul, but the pain can be softened. In confirmation of this Luke tells the parable of "righteous land", about a person who committed suicide, so bitter for him was the truth.
Brief dialogues of the old man with people living on the "bottom", report the play inner movement: Ghostly unhappy hopes are growing. Vaska Suska Luka inspires the idea of \u200b\u200ba trip to Siberia, where he can start a new life; The actor promises to call the city where there is an alcoholic hospital; The dying Anna reassures the hope that for his unbearable flour on earth she will find peace and eternal bliss in the sky. The old man believe, as they want to find faith in the existence of "another truth", break out of the night and get through to another life, although the paths are unclear to her.
Luke considers all people weak, miserable, in need of sympathy and consolation. His words make people adapt to the existing order, urge to regret the person, and not fight for changing his fate.
The opposite view expresses Satin, expressing the copyright position. Satin is not a positive hero, but he is a smart, enjoying respect from the nights. Clear others understands social injustice. This is the most intelligent man "bottom". He argues that a person needs true, and in these words a call for the struggle for his rights. "Human! It's great! It sounds ... proud! " About Luka He expresses such a point of view: "He was ... But - it's out of pity for you! There is a comforting lie, lies reconciling ... "
Satina speech testify that the spark of a living life, the spark of the Spirit did not go out on the social "day". "We must respect a person! Do not regret ... not humiliate his pity ... I need to respect! " - Satin says.
On the insolvency, from the point of view of the author, the theory of Luke speak unsuccessful destinies of the nights. He came, he lit in their hearts hope, but did not point them the road to a better life. Thus, Luke is just an idle observer and comforter. The tragic omission of the play is a kind of verdict to the preaching of patience and humility and at the same time approval of the need to struggle for the truth, per person.
After putting the problem of humanism in the center of the Plays, the author claims that a person should not live in the world of illusions. "If there is something truly sacred and great in the world, it is a continuously growing person," she wrote bitter. Therefore, he condemns the humanism imaginary, compassionate, who calls to regret the person, and not fight for changing his fate. "Lies - Religion of slaves and owners ... True - God of a free man!"

Lisa knows a lot of truth, and hedgehog is one, but more.
Archlook.
Piece "At the bottom" - socio-philosophical drama. Since the creation of the work has passed more than a hundred years, the social conditions have changed, which exposed bitter, but the play is not outdated so far. Why? Because it rises the "eternal" philosophical theme that will never cease to worry people. Usually, this topic is usually formulated for the Gorky Plays: the truth and lies argument. Such wording is clearly insufficient, because by themselves the truth and lies do not exist

- They are always connected with man. Therefore, it will be more accurate to formulate a philosophical theme "At the bottom" in a different way: a dispute about true and false humanism. Himself bitter in the famous Satina monologue from the fourth action connects the truth and a lie not only with humanism, but also with the freedom of man: "Man is free ... He pays for everything: for faith, for the disbelief, for love, for the mind - a man for everything Pays himself, and therefore it is free! Man is true! ". From here it follows that the author in the play argues about a person - the truth is freedom, that is, about the main moral categories of philosophy. Since it is unambiguous to determine these worldview categories ("the last issues of humanity", as they called F. M. Dostoevsky) It is impossible, Gorky presented several points of view in his drama in his drama. The drama became polyphonic (the theory of polyphonism in the artistic work developed in his book "Poetics of Creativity Dostoevsky" M. M. Bakhtin). In other words, there are several heroes ideologues in the play, each with her voice, that is, with a special point of view on peace and man.
It is believed that Gorky portrayed two ideologues - Satina and Luka, but in fact their at least four: the named Bubnov and Kostyleva should be added to the named. According to Kostylev, the truth is not needed at all, since it threatens the well-being of the "hosts of life." In the third action, Kostylev argues about the real wanderers and further expresses his attitude towards the truth: "A strange person ... not like others ... if he is really awesome ... Something knows ... Something I learned something ... I do not need anyone ... Maybe he and the truth I learned there ... well, not everyone is really needed ... yes! He - I keep her myself ... and - silence! If he is becoming strange ... He is silent! And it says that it says that it is not clear to anyone ... and he does not want anything, it does not interfere with anything, there is nothing to mutte people ... "(III). Indeed, why the crutter is true? In words, he is for honesty and labor ("it is necessary that the benefit from a person was ... so that he worked ..." III), but in practice it is stolen from the ashes.
Bubnov always speaks the truth, but it is "the truth of the fact", which only records the unpleasution, injustice of the existing world. Bubnov does not believe that people can live better, honest, helping each other, as in righteous land. Therefore, all dreams of such a life he calls "fairy tales" (III). Bubnov frankly admits: "In my opinion - Vali all the truth as it is! What to be shy? " (Iii). But a person cannot satisfy hopeless "truth of the fact." Against the truth of Bubnov is a tick when screaming: "What is the truth? Where is the truth? (...) No work ... There is no strength! Here is true! (...) I need to frown ... Here it is, true! (...) What is she - really? " (Iii). There is another hero against the "truth of the fact", the one who believed in righteous land. This faith, as Luke tells, helped him live. And when faith in the possibility of a better life was destroyed, the man was helpful. There is no righteous land - this is the "truth of the fact", but it's never to say that it should never be, is a lie. That is why Natasha explains the death of the hero of parables like this: "I did not squeeze the deception" (III).
The most interesting hero ideologist in the play is, of course, Luka. Estimates of this strange wanderer critics are different - from admiration for the generosity of the old man before exposing its harmful comfort. Obviously, this is extreme estimates, and therefore one-bed. An objective, calm score of Luke seems to be more convincing, which belongs to I. M. Moskvin, the first performer of the role of an old man on theatrical scene. The actor played onions as a good and intelligent person, in whose consolations there are no caustic. The same notes in the play of the Bubnov: "Here is a bow, about it, a lot of things ... and without any benefit for yourself ... Why would he?" (Iii).
The reproaches, expressed in Luke, do not withstand serious criticism. It is necessary to specifically note that the old man is not "lying" anywhere. He advises the ashes to go to Siberia, where you can start a new life. And it is true. His story about a free hospital for alcoholics, which made a strong impression on the actor, is true, as confirmed by special location of literary criticism (see Article Sun. Trinity "Historical Realities in the play M. Gorky" At the bottom "// Literature at school, 1980 , №6). Who can say that, describing Anna the afterlife, Luka Lukavit? He comforts a dying person. What to reproach him? He says Nastya that believes in her novel with a noble Gastron Raul, because he sees an unhappy girl in the story not just a lie like Bubnov, but a poetic dream.

Even critics of Luke declare that the harm from the comforts of the old man was tragically reflected on the destinies of the nightnails: the old man did not save anyone, did not help anyone, the death of the actor on Luke's conscience. How easy to accuse one person in everything! He came to the desired people, to whom there is no case anyone, and comforted them as he could. Neither the state nor officials nor themselves are tortured, - Luke is to blame! True, the old man did not save anyone, but did not destroy, he did what was in his power: helped people feel like people, the rest already depended on them. And the actor is a winding drunkard with experience - absolutely no willpower to stop drinking. Vaska ash in stressful state, having learned that Vasilisa was crushed by Natalia, killing Kostyleva by chance. Thus, the reproaches made to Luke seem unconvincing: Luca will not "lie" anywhere and is not to blame in misfortunes that happened to the nights.
Usually researchers, condemning Luka, agree that satin, as opposed to a wonderland, formulates loyal ideas about freedom - truth - man: "Lies - Religion of slaves and owners ... True - God of a free man!". Satin explains the causes of lies: "Who is weak soul ... and who lives in other people's juices, - the lies are needed ... She supports, others are covered with her ... And who is the owner himself ... who is independent and not eats someone else's lies?" (Iv). If you decipher this statement, it turns out the following: Kostylev lies because "lives in other people's juices", and Luka - because "weak soul". The position of Kostyleva, obviously, should be rejected immediately, the position of Luke requires a serious analysis. Satin demands a look at life straight into the eyes, and Luca looks around in search of a comforting deception. True satina is different from the truth of Bubnov: Bubnov does not believe that a person can rise above himself; Satin, unlike Bubnov, believes in a person, in his future, in his contemptive talent. That is, satin is the only hero in the play, who knows the truth.
What is the author's position in the dispute about the truth - freedom - man? Some literary critations argue that only in the words of Satina the author's position is set forth, however, it can be assumed that the position of the author unites the ideas of Satin and Luke, but not completely exhausted by two. In other words, at the Gorky Satin and Luke as ideologists are not opposed, and complement each other.
On the one hand, satin himself admits that Luke pushed him with his behavior and conversations (in the past of the educated telegraphist, and now Bosyaka) to reflections on a person. On the other hand, Luka and Satin are both talking about good, about faith in the best, which always lives in the soul of man. Satin remembers how Luka answered the question: "Why do people live?". The old man said: "For the best!" (Iv). Is Satin, arguing about a person, does not repeat the same thing? Luka says about people: "People ... they will find everything and come up with! It only needs to help them ... respect it is necessary ... "(III). Satin formulates similar idea: "We must respect a person! Do not regret ... not humiliate his pity ... I need to respect! " (Iv). The difference between these statements is only that Luka focuses on respect for a particular person, and satin is a man. Discalcated in private, they converge in the main thing - in approval that the person is the highest truth and value of the world. In the monologue of Satina, respect and pity are opposed, but it is impossible to say probably that this is the final author's position: pity, like love, does not exclude respect. From a third party, Luka and Satin are an outstanding personality, which in the play never encounter in the dispute. Luke understands that satin does not need his consolations, and satin, carefully watching the old man at the night, never raised, did not cut him off.
Summing up this, it should be noted that in the socio-philosophical drama "At the bottom", the main and most interesting is the philosophical content. This thought proves the very construction of a Gorky play: almost all heroes are involved in the discussion of the philosophical problem. A person is true - freedom, while in the household storyline, the relationship only four (ashes, Natalia, Chet Kostilevoy) are found. Pieces showing the hopeless life of the poor in pre-revolutionary Russia has written many, but it is very difficult to call another play, except for the drama "at the bottom", in which, along with social problems, would have been set and successfully solved the "latest" philosophical questions.
The copyright position (the fifth in the account, but, perhaps, not the last) in the play "On the bottom" is created as a result of repulsion from false points of view (Kostyleva and Bubnova) and complements of two other points of view (Luke and Satina). The author in a polyphonic work, by definition of M. M. Bakhtin, does not join any of the exposed points of view: the solution of the philosophical issues belongs not to one hero, but is the result of the search for all participants in the action. The author, as a conductor, organizes a multi-voiced choir of heroes, "singing" by different voices the same topic.
Still, the final solution to the question of the truth is freedom - there is no man in the Drama of Gorky. However, it should be in the play, which puts the "eternal" philosophical questions. The open finale works makes the reader himself think about them.

History of creation

The play was written in 1902. This time is characterized by serious as a result of which, due to the closure factory workers, the workers were not deeds, and the peasants were forced to be disappeared and born. All these people, and together with them and the state, found themselves at the very bottom of life. To reflect the whole degree of decline, Maxim Gorky made his heroes by representatives of all segments of the population. I became an adventurer, a former actor, prostitute, a locksmith, a thief, a shoemaker, merchant, dealers of the night, a policeman.

And precisely, the decline and poverty are given the key eternal issues of life. And the basis of the conflict was the dispute about the truth in the play "At the bottom". This philosophical problem has long been unresolved for Russian literature, Pushkin, Lermontov, Dostoevsky, Tolstoy, Chekhov and many others were taken for it. However, Gorky was not at all scared of this state of affairs, and he created a work, devoid of dodactism and morality. The viewer himself has the right to make his choice by listening to different points of view that heroes express.

The dispute is about truth

In the play "At the bottom," as already mentioned above, bitter did not simply portrayed a terrible reality, the most important for the writer was the answers to the most important philosophical issues. And in the end, he manages to create an innovative work that did not know himself equal in the history of literature. At first glance, the story seems fragmented, immutable and fragmented, but gradually all the pieces of mosaic add up, and the collision of heroes unfolds in front of the audience, each of which is a carrier of its truth.

A multifaceted, ambiguous and inexhaustible such a topic as a dispute about the truth in the play "On the bottom". A table that could be drawn up for a greater understanding, would include three characters: Bubnova, it is these characters that are roast discussions about the need for truth. Understanding the impossibility of a response to this question, the bitter invests in the mouth of these heroes different opinions that are equivalent and equal to the viewer. It is impossible to determine the position of the author itself, so these three images of criticism are interpreted in different ways, and there is still no uniform opinion on whether the point of view is true of the truth.

Bubnov

Entering the argument about the truth in the play "At the bottom", the Bubnov adheres to the opinion that the key to everything is the facts. He does not believe in the highest strength and the high purpose of man. A person is born and lives only to die: "Everything is like this: they will call, live out, die. And I diries ... And you ... what to regret ... "This character is hopelessly desperate in life and does not see anything joyful in the future. The truth is that a person cannot resist the circumstances and cruelty of the world.

For Bubnova, a lie is unacceptable and incomprehensible, he believes that it is only necessary for the truth: "And why do people lie like?"; "In my opinion, Vali all the truth as it is!" He is open, without constraint expresses his opinion on others. The philosophy of Tubnova Truthful and ruthless to a person, he does not see the meaning in helping the neighbor and care for him.

Luke

For Luke, the main thing is not true, but consolation. In an effort to bring in the hopelessness of the daily life of the inhabitants of the night at least some meaning, he gives them false hope. His help lies in lies. Luka understands people well and knows what everyone needs, based on this and gives promises. So, he tells the dying Anna that after death she was waiting for peace, the actor inspires the hope of cure from alcoholism, the ashes of the best life in Siberia.

Luke appears one of the key figures in such a problem as the argument about the truth in the play "On the bottom". Replica him is full of sympathy, calm, but they do not have the words of truth. This image is one of the most ambiguous in the drama. For a long time, literary crowns were evaluated by him only from a negative side, but today many are seen in the actions of Luke and positive moments. His lies console the weak, unable to resist the cruelty of the surrounding reality. The philosophy of this character in kindness: "A person can teach a good ... While a man believed - he lived, but he lost his faith - and she walked." An indicative of this regard is the story about how the old man saved two thieves when he treated them in kind. True Luke - in pity for man and desire to give him hope, albeit illusory, on the possibility of a better, which would help live.

Satin

Satina is considered the main opponent of Luke. It is these two characters that lead the main dispute about the truth in the play "At the bottom". Satin quotes contrast sharply with the statements of Luke: "False - Religion of slaves", "True - God's free man!"

For satin, false is unacceptable, since in man he sees strength, resistance and ability to change everything. Pity and compassion is meaningless, people in them do not need. It is this character that says the famous monologue about a man-God: "There is only a person, yet the rest is the case of his hands and his brain! It's great! It sounds - proud! "

Unlike Bubnova, which also recognizes the truth only and denying a lie, Satin respects people, believes in them.

Output

Thus, the argument about the truth in the play "At the bottom" is the plot-forming. Gorky does not give a clear resolution of this conflict, to determine who is right, should every viewer for himself. However, it should be noted that the Satina final monologue is heard at the same time a hymn man and a call to actions aimed at changing terrifying reality.